Bob Mondello

Bob Mondello, who jokes that he was a jinx at the beginning of his critical career, "hired to write for every small paper in Washington, D.C., just as it was about to fold," saw that jink broken in 1984, when he came to NPR.

For more than three decades, Mondello has reviewed movies and covered the arts for NPR News, seeing at least 250 films and 100 plays annually, then sharing critiques and commentaries about the most intriguing on NPR's award-winning newsmagazine All Things Considered. In 2005, he conceived and co-produced NPR's eight-part series "American Stages," exploring the history, reach, and accomplishments of the regional theater movement.

Mondello has also written about the arts for such diverse publications as USA Today, The Washington Post, and Preservation Magazine, as well as for commercial and public television stations. And he has been a lead theater critic for Washington City Paper, D.C.'s leading alternative weekly, since 1987.

Before becoming a professional critic, Mondello spent more than a decade in entertainment advertising, working in public relations for a chain of movie theaters, where he learned the ins and outs of the film industry, and for an independent repertory theater, where he reveled in film history.

Asked what NPR pieces he's proudest of, he points to commentaries on silent films – a bit of a trick on radio – and cultural features he's produced from Argentina, where he and his husband have a second home. An avid traveler, Mondello even spends his vacations watching movies and plays in other countries. "I see as many movies in a year," he says. "As most people see in a lifetime."

For four decades, Woody Allen's been churning out movies at a rate of almost exactly one film per year, a phenomenon that I'd describe as being "like clockwork" if my whole sense of time hadn't been scrambled by his latest comedy, To Rome With Love.

Tinseltown didn't invent the American dream, but it sure put it out there for the world to see — a dream lit by the perpetual sunshine of Southern California, steeped in the values of the immigrant filmmakers who moved there in the early 1900s and got enormously rich.

It was their own outsider experience these Italian, Irish, German and often Jewish moviemakers were putting on screen, each optimistic, escapist fantasy a virtual American dream checklist:

As played by Mark Duplass, Jack is a sweet guy, though that's not really something you'd guess from his lashing out at the friends who are trying to celebrate his brother's life at the memorial service that starts Your Sister's Sister.

Forget the calendar. With The Avengers, Battleship, and Men In Black already battling aliens at the multiplex, Hollywood's summer has arguably been under way for weeks.

No doubt, the tent-pole blockbusters — Ridley Scott's Prometheus, The Amazing Spider-Man, The Bourne Legacy, and the rest — will offer plenty of entertainment value, but there are a couple of hardy, resourceful little girls you might want to attend to, too.

The movie Battleship, based on the popular board game, opens today in the U.S. In most respects, it's a typical popcorn picture — the kind of effects-laden action movie that audiences often turn into a summer blockbuster.

And while it may not be any good, it is undeniably ours — American from the water up: a Universal Studios picture about an alien invasion, crammed with special effects from Industrial Light and Magic and set largely on American warships.

Time now for a home viewing recommendation from our film critic Bob Mondello. This time Bob urges taking the plunge from the seven-and-a-half-th floor into the Criterion Collection's Blu-ray release of Being John Malkovich.

Putting together a Halloween costume must be a breeze at Johnny Depp's house. Forget pirate Jack Sparrow. If you just took a few of the characters he's played for director Tim Burton — the Mad Hatter, mad barber Sweeney Todd, mad candymaker Willy Wonka, and those two mad Eds, Wood and Scissorhands, you'd have a whole closetful of costuming possibilities.

That crashing sound you'll hear emanating from cineplexes this weekend will be the sound of comic-book superheroes smashing box-office records.

Actually, the smashing started last weekend, when Marvel's The Avengers opened in 39 territories around the world, scooping up a cool $178 million in three days. And with legions of fans having already bought advance tickets in the U.S., it's a pretty sure bet the box-office bonanza will continue as the film opens in more than 4,000 North American theaters.

At the beginning of the Norwegian thriller Headhunters, Roger Brown (Aksel Hennie) will likely strike you as just about the cockiest insecure guy you've ever met.

Smirking as he pads around his pristine, glass-walled home in boxer shorts, he swirls a heart into the foam on the coffee he's taking to his gorgeous, blond and naked wife (former model Synnove Macody Lund) in their enormous open shower. Then as she moves from the streaming water to kiss him, he has to lean up, because she's half a head taller than he is.

At the start of a bright, sunny day that seems otherwise like any other day, a popular teacher is found dead in her classroom. It was suicide.

The school is traumatized, especially that teacher's students. By the next day, the principal is at her wits' end trying to find someone willing to take the class. So when Bachir Lazhar (Mohamed Fellag) offers to teach, it comes at just the right moment.

When the College of Cardinals gathers in the Vatican to choose a new church leader — formally the Bishop of Rome — it announces its selection with the Latin phrase "Habemus papam" ("We have a pope").

But suppose that, when a cardinal steps out onto a balcony in St. Peter's Square to utter those fateful words, the gentle soul in white sitting behind him, out of sight of the crowd, develops stage fright.

For the second time in two weeks, a film that concerns itself with kid-on-kid violence arrives at the multiplex amid a firestorm of audience-generated, studio-fanned social-media interest.

Last week, The Hunger Games rode enthusiasm for Suzanne Collins' young-adult novels and a carefully orchestrated PR campaign to the best opening weekend of the year. Now comes the documentary Bully, director Lee Hirsch's sensitive look at anguished kids who've been cruelly targeted by their peers — which isn't going to do anything remotely like that kind of box-office.

Sixteen-year-old Katniss is an accomplished archer in Suzanne Collins' young adult trilogy, The Hunger Games, so it should be no surprise that in her film incarnation, she's hit the box office bulls-eye. This dystopian wonder (for those who've been living in a cave of late, The Hunger Games is a thriller about a totalitarian society that forces teens to participate in a televised fight to the death) appears poised to join the Harry Potter and Twilight movies in the top echelon of teen-oriented page-to-screen blockbusters.

Hungry for a good dystopia? Well, as you may be gathering from reports of the millions of tickets sold before prints were even shipped to theaters, author Suzanne Collins has a feast for you in the first movie installment of her young-adult trilogy The Hunger Games.

Call it an accident of the calendar: two pairs of filmmaking brothers both opening movies on the same weekend, both films about the awkwardness of growing up. Jeff, Who Lives at Home is a post-mumblecore slacker comedy from the Duplass brothers, Mark and Jay. The Kid with a Bike is a Belgian slice-of-life drama from the Dardenne brothers, Jean-Pierre and Luc.

Robert De Niro's last outing with director Paul Weitz was less than auspicious: The comedy Little Fockers received terrible reviews. Being Flynn, their second collaboration, is a more serious affair about the estranged relationship between a fractious father and his son.

When Hollywood imagines the future, from Logan's Run to Avatar, it tends to picture living spaces as sterile and characterless, without any cultural clues to the person who lives there. No record library, no DVDs, no Hemingway on bookshelves ... often no bookshelves.

In the 11 years since the Oscars introduced an award for Best Animated Feature, the category has been dominated by children's movies, often with computer-animated pandas, penguins and ogres at their center. This year's a little different. Two of the animated films are subtitled, and one is definitely aimed at adults: the Spanish film Chico and Rita, an animated love story steeped in jazz.

Shrek, Hitch, Gattaca: What's in a name? Shakespeare said a rose by any other name would smell as sweet — but for Hollywood the question is more like, "Would that rose, by any other name, sell as many tickets?"

Whenever the late New York Times caricaturist Al Hirschfeld sketched Carol Channing — whether picturing her as an indomitable Dolly Levi, swathed in feathers and sequins, or as carbon-crazed Lorelei Lee, eyes sparkling like the diamonds that were that splendid creature's best friends — he always made her appear a creature composed entirely of lipstick, mascara and hairspray.

Wizards, transformers and vampires did their best, but they couldn't transform 2011 into a magical year for Hollywood: Despite all the 3-D and IMAX screenings and the premium prices that come with them, industry box office sagged by half a billion dollars compared with last year. But quality? That's another story.

The opening moments of A Separation lay out the story you'd expect to see in a film about a wife who is leaving her husband: Simin (Leila Hatami) and her bank-clerk spouse, Nader (Peyman Moadi), are explaining heatedly to a judge why they want a separation. Or actually, why they don't want it.

After being force-fed a steady diet of Oscar hopefuls for almost a month, I may just be ready for empty-calorie time at the cineplex. But I have to confess a sense of relief this week, as I watched entertainments that didn't seem to want to do anything other than show an audience a good time.